Reel and Roll Awards: Best Leading Performances 2019

WARNING: 
Most of the clips here are spoiler-heavy (except for those which I couldn't find the clips I'd want to show in which case I've put interviews/featurettes) Only watch if you've seen the film and are looking to re-live these wonderful performances! 

Top: Taron Egerton, Rocketman
Bottom: Jessie Buckley, Wild Rose

Well first up we have two insanely charismatic stars in the making delivering absolutely wonderful musical turns: Taron Egerton playing the one and only Elton John in Rocketman and Jessie Buckley playing the titular Wild Rose-Lynn Harlan.  It must be said that both simply light up the screen every moment they're on.

Egerton just throws himself into Elton wonderfully, capturing the essence of the man, going all in for it with any of John's personal flaws and journey to recovery, and most importantly is a breathtaking showman every step of the way delivering each musical number, with his powerful delivery of 'Goodbye Yellow Brick Road' and the new rendition of 'I'm Still Standing' being particularly striking.

The same goes Buckley who is a rambunctious infectious delight in each musical number, milking that wonderful Glaswegian accent she uses for all its worth and delivering on every banging country song, but what's most remarkable is her bringing all the faults of Rose-Lynn to life so vividly, creating a truly multi-dimensional character through her star turn here. Her portrayal is that of a loving but flawed, idealistic but also foolish dreamer, and ultimately just such a compelling character you love following all the way through. She not only carries the film, she is in essence the film and the reason it works the way it does. It's a shame she never quite got enough traction to make a splash on the awards scene, and that Egerton's campaign missed out in the final stretch, but both give superlative turns that will hopefully get them more acclaim, and increasingly juicy roles in the future.

Leonardo DiCaprio, Once Upon a Time in Hollywood; Christian Bale, Ford v Ferrari
Daniel Craig, Knives Out

Now here we have three actors who're just here to have a good time if we're discussing things at a very basic level.

It has to be said Christian Bale in Ford v Ferrari and Daniel Craig in Knives Out are having a blast, more so than I've seen them in quite some time, absolutely digging into the Brummie accent and deep fried Southern accent they use respectively with such gusto, as the larger than life race car driver Ken Miles and pseudo-Poirot Benoit Blanc. Both are so much fun to watch every step of the way as they drive and cuss, investigate and ruminate, and Bale manages to make Miles a surprisingly endearing and loveable character and Craig in addition to providing the laughs and delights makes his final 'expose' monologue genuinely thrilling.

Now Leonardo DiCaprio in Once Upon a Time in Hollywood also delivers on that front as its a welcome return to energetic Leo mood after the sombreness of The Revenant. On re-watch, while I had all the more reservations with certain portions of the film, DiCaprio's standout comic work stood out all the more for me, playing Rick Dalton the hapless fading star with all his insecurities in a hilarious fashion, particularly in that trailer breakdown sequence, and is just as incredible in making Rick a genuinely likeable, for all his faults, chap with such great chemistry with Brad Pitt and Julia Butters, and his scenes as Bounty Law's suspicious. sheriff, a raving Nazi flamethrower killer, and above all 'best acting I've ever seen' as a malevolent sexy Hamlet villain.

Roman Griffin Davis, Jojo Rabbit; Saoirse Ronan, Little Women
Taylor Russell, Waves; Noah Jupe, Honey Boy 

Now I'm always just a sucker for child/young adult POVs in films which I think gives directors, and for that matter actors, an additional challenge to really bring you into that very particular perspective, and when it pays off it pays off marvellously. Well here's an enviable quartet of great performances this year by some young and very, very talented actors.

Now a 4-time Oscar nominee at the age of 25, Saoirse Ronan gives a marvellous turn as Jo March in Little Women with a portrayal that is equal parts a wonderful anchor to the film, and is not just an amazing performance for someone of her age but just an amazing performance, period. Her and Greta Gerwig are clearly the next undeniable pairing as she flourishes so well with the energetic, dynamic and earnest energy of the film and hitting the comedic and dramatic beats equally well, with special mention to how well she can go from goofy bookworm to snarky deadpan depending on the needs of the scene, absolutely delivering on the conflict between her desire for independence and desire for love, and honestly has such great chemistry with literally every cast member, particularly the other sisters. She never simplifies any of these relationships, nor that with Chalamet's Laurie, and creates a complex dynamic with each family member and acquaintance that amplifies the already great material and co-stars, and showing that she's truly in my opinion the best actress working today.

Another marvellous balancing act of tones can be found in Jojo Rabbit with Roman Griffin Davis as the titular character. It's hard to believe that this is Davis' acting debut as ten year old Johannes Betzler, young German in the later stages of WWII. It would have been easy for Davis' performance to get overshadowed by the likes of imaginary Hitler and wacky idiotic Nazis, but he gives such an assured portrayal of the effect of the jingoistic propaganda on his rude and stuck up antics, yet still somehow quite charming and endearing chap, and most importantly is consistently hilarious in each and every interaction. As the film progresses and gets darker he changes with the tone so brilliantly, culminating in the most heartbreaking scene of the year which is all about his amazing portrayal, and creates the transition of his character so vividly while never losing sight of his character as a young child.

Now Taylor Russell in Waves and Noah Jupe in Honey Boy give performances that are not as honed in upon by the nature of their respective films, but both give astonishing turns all the same. Russell carrying the second half of Waves, which I will admit I do have a few reservations about but which ended up hitting me in the emotional sweet spot all the same. In the first half she's really strong anyway, and her portrayal of recovery from grief and acceptance of the tragedy of the first half is amazing, her scene with Sterling K. Brown is one of the best acted scenes of the year, period, by both actors. And Jupe is a revelation as essentially young Shia LaBeouf in Honey Boy, playing the child actor side of the performance incredibly well, nailing each and every emotionally complex interaction with his onscreen father LaBeouf (who as I've mentioned before is great), and gives a consistently on point performance at every point in showing the painful experiences that wear on the young boy.

Kelvin Harrison Jr., Waves and Luce
Paul Walter Hauser, Richard Jewell; Matthias Schoenaerts, The Mustang 

These three performances are all about watching as the gears kick into motion and you watch the inner life of the character in action.

In the case of Kelvin Harrison Jr. in Luce and Waves, and Paul Walter Hauser in Richard Jewell the gradual implosion is what make their performances click. Harrison Jr. gives quite the banner year of performances for his two terrific performances, both as star students and athletes who get thrown into rather troubling situations. With Luce he gives a complex, clockwork mystery of a charismatic, ambiguously manipulative figure thrown against the more intimate side that unravels as the film digs deeper into the core of the racial pressures thrust upon him, while in Waves he gives a more emotionally potent portrayal of a kid going through all manner of nightmarish scenarios as his dreams are crushed, giving a harrowing portrayal of the result of a series of terrible decisions. It doesn't matter that he's only really featured in the first half of the film as he leaves a lingering impression on you long after.Walter Hauser as the titular hero turned victim of press vilification gives another ticking time bomb performance as he firstly plays into his usual oafish self, though more endearing this time around, and depicts the overwhelming rise to fame and the crushing descent into becoming demonised by the press so vividly, maintaining a consistency in his Jewell's earnest desire to help matters that makes the implosion of righteous indignation all the more satisfying to watch.

Matthias Schoenaerts in The Mustang on the other hand gives a performance of defusion. Schoenaerts is as expected by now, terrific, at first giving very much in his usual wheelhouse of quiet brutish prisoner, yet what I loved and what I initially overlooked about the performance is how much nuance he finds in his character's transformation. It's so interesting to watch his character become more tamed down and opened up through his interactions with the horses he takes care of and reveals the character's vulnerabilities beautifully, and his breakdown sequences are not only extremely powerful but so well earned. 

Robert De Niro, The Irishman; Antonio Banderas, Pain and Glory
Awkwafina, The Farewell; Ana De Armas, Knives Out 

Now here's a quartet of particularly quiet, understated and observant turns that 2019 gifted us.

It would be remiss to not acknowledge that although I have some qualms about this year's Oscar nominations, it's great that Antonio Banderas' quietly emotional performance as essentially director Pedro Almodovar in Pain and Glory was nominated. It's one of the quietest performances ever nominated for an Academy Award, up there with Gary Oldman in Tinker Tailor Soldier Spy and I'm glad it was recognised. In that Banderas, in general such a lively, charismatic and larger than life figure, here disappears into the quiet, retiring and rather internalised sort that 'Salvador Mallo' is. He's strong throughout and is downright brilliant in the scenes where he reconnects with a past lover, where his restrained approach honestly made them hit with even more emotion than if he'd gone more overt.

He was rightfully awarded, unfortunately the same cannot be said for Robert De Niro in The Irishman and Awkwafina in The Farewell, the former despite being in a Best Picture nominee and one the Academy clearly loved, the latter despite winning the Golden Globe for Best Actress (Musical or Comedy). De Niro gives a true return to form after a series of increasingly awful films and roles, and though it takes a little while to get adjusted to the various ages of Frank Sheeran, soon enough he makes himself right at home with Scorsese's style. Though his role is in many ways more understated and less showy than his co-stars Pacino and Pesci, he plays off of each of them so well while making his almost passive, workmanlike character stand out with that De Niro screen presence, and then is legitimately amazing in the final act of the film in Sheeran's most elderly infirm state. Meanwhile, Awkwafina gives a complete 180 from her entertaining Crazy Rich Asians performance as Billi, who acts as the film's quiet wavering pendulum between West and East as she observes the 'lie' being told to her grandmother about her cancer diagnosis. Her performance is so quietly reflected of the changes and complexities within this predicament and dilemma and she really brings you into the experience every step of the way, and her 'big' scene of breaking down over her childhood is well earned and most importantly, splendidly performed.

Lastly, Ana de Armas in Knives Out is absolutely wonderful in a role which would in most films be a stick in the mud, luckily Rian Johnson makes sure that she's an essential cog to the film's success as essentially the protagonist, and an active participant and observer to the mystery at hand. She delivers entirely in the dramatic stakes, with so much of the burden of that side of the film on her shoulders, and beyond that also manages to get some laughs in which is pretty amazing given the nature of her character.

Lupita Nyong'o, Us
Florence Pugh, Midsommar; Samara Weaving, Ready or Not

It has to be said that this was a great year for the well-worn trope of the 'final girl standing' horror trope - Lupita Nyong'o in Us giving equal parts a vividly terrified and terrifying performance that pushes through the film's faults to deliver an astonishing dual performance, and Samara Weaving in Ready or Not and Florence Pugh in Midsommar granting such visceral, on point portrayals of young ladies finding themselves in, suffice to say, rather precarious relationships that lead to some truly gruesome sequences.

All three actresses are completely on point the whole time in delivering on the nerve-wracking fear and pains they go through. Pugh's unforgettable scream at the opening haunting revelation for college student Dani that simply escalates across the film in such an unassuming way, leading to that final unforgettable reaction shot. Weaving selling the hell out of every wound, crash and burn newlywed Grace has to endure on her tumultuous wedding night, and getting some surprising laughs in the process as she creates a convincing transition into essentially the action hero of the piece.

And of course, Nyong'o so mesmerising in both sides of her performance. Obviously protagonist Adelaide's complete and utter horror-struck phases as she takes in and endures all manner of creepy doppelgängers assaulting her family, but also as her own doppelgänger 'Red' which is simply an amazing creation by Nyong'o, creating an unforgettable horror monster with that raspy voice, those haunting eyes but also just how haunted, pained and emotionally unhinged 'Red' is that grants so much depth than perhaps the film even expected. It's just very entertaining and lively work that also manages to grant so much depth to the horror genre, and while I do have reservations with Us Nyong'o undoubtedly gives a phenomenal performance as both the hunter and the haunted.

Aisling Franciosi, The Nightingale; Adam Sandler, Uncut Gems
Aaron Paul, El Camino; George MacKay, 1917

And meanwhile if you want to be kept on edge, these following four performances keep you with their performances the whole time in taking their characters through the wringer, and creating an unsettling, anxious, constantly tense atmosphere as you follow them through every second of their absolutely riveting performances.

You've got Aaron Paul returning to Jesse Pinkman in El Camino to continue his character's arc from the series. Now I am still of the belief that the way Jesse's arc ended in the original series was perfect but nevertheless, El Camino was a great epilogue for the character. Whether it's playing through the early season 1 and 2 phases of Jesse, or the more haunted Jesse of the later seasons he's terrific, and earns the moments of levity and badassery along the way in the main meat of his work showing a man who's gone through hell and back, and it's really quite amazing how well he creates each phase of Jesse into a stellar conclusion.

Meanwhile, you've got Aisling Franciosi in The Nightingale giving an atypical revenge tale an atypical revenge protagonist. Like Paul's Pinkman, Franciosi's Clare goes through horrible, torturous treatment by some rather nasty sorts. Her performance is one that starts with relative simplicity in portraying her character as very much a jaded and flawed prisoner who's lived a harsh life which all then collapses as the nastiest and most repulsive means of revenge are exacted against her and her family. She never makes the subsequent journey into an avenging angel easy, showing the difficulty with which she goes through each action and makes it all the more powerful and brutal with each sequence as we see someone who's gone through hell become more and more jaded to it.

Where both the aforementioned characters were victims of others' perpetration, Adam Sandler's Howard in Uncut Gems very much creates his own problems as he goes along. This performance does something very special which the great Mark Kermode brought up, which is you don't need to like or even sympathise with this character to become invested in the film. He is a horrible person, and so compelling in many ways both because, and despite that. Howard is another Safdie brothers fuckup, a huckster jeweller who lives life on the edge, sleazily gambling and losing and gambling with others' welfare. Yet you can't wait to see how he'll mess up next and get out of the sticky situation. He makes pawning jewellery so invigorating to watch in just the cadence and rhythm with which Howard uses any means to get what he wants. His typical dorky Sandler-isms are used to darkly comedic effect particularly against Idina Menzel, showing a different side to his comedic talents. Him essentially 'selling' his life philosophy to Kevin Garnett is a truly mesmerising scene, as is him rooting for an NBA game which is quite something. His chemistry with Julia Fox is great, while also showing that no one can quite do a breakdown scene like Adam Sandler does when under the right direction.

Meanwhile on an almost opposite spectrum of characters comes George MacKay's Schofield in 1917 carrying the film's continuous shot premise on his shoulders through the horrors of WWI. Where Howard is a richly drawn character with a whole lot of mess going on in his personal life, Schofield is a pretty minimalist character in many regards with a thinly outlined backstory not overly dwelt upon by the film, lacking typical 'tropes' of a war film protagonist. This might seem I'm being critical, but I'm not. As in MacKay gives an utterly realistic portrayal of a young man snatched right out of WWI, giving an unfussy and utterly captivating portrayal of an everyman going through the horrors of war. MacKay is on point every second of his performance and is essential to keeping the various paces and varying intensities of the film moving. The film never stops to let him show off yet he manages to give one of the most affecting arcs in 2019 as almost silently, and so much said in his eyes, we see a hardened cynical man go through the horrors of war, break down again and again and yet keep moving. It's work that the more I think about, the more I love, and that 'Sixteen Hundred Men' scene, while a highlight for Sam Mendes, Roger Deakins and Thomas Newman, is also a masterclass in acting by MacKay as he silently shows a broken man so powerfully finding the will to make one last push. 

Robert Pattinson and Willem Dafoe, The LighthouseAdèle Haenel and Noémie Merlant, Portrait of a Lady on Fire

Sticking one on an island is always good fuel for a narrative: see Robinson Crusoe, Cast Away. Stick two of 'em and what'll happen? Well all bets are off. You could get the nightmarish Gothic pairing of Willem Dafoe and Robert Pattinson in The Lighthouse or the eloquent, restrained romance blossoming from Adèle Haenel and Noémie Merlant in Portrait of a Lady on Fire. Both pairings are dynamite pairings yet in such different ways, as Dafoe and Pattinson create such terse animosity that brings them together and tears them apart in isolation - the crusty old lighthouse keeper Wake and mysterious drifter newbie Winslow -, while Haenel and Merlant as aristocrat Heloise and painter Marianne slowly create a bond from their initial divergence and wariness of one another in this tale of a fateful art commission. 

What really makes both pairs of performances work is how well they work in alignment with one another, but in such different ways. Celine Sciamma's direction and screenplay gives Haenel and Merlant the perfect platform to create this quite unassuming passion that blossoms between them, as they move from being on such different wavelengths, to still being on different wavelengths but with a connective tissue between them that is for lack of a better word, electrifying. Merlant so quiet and gradual in making her repressed character's feelings felt and Haenel an absolute powerhouse in showing her character's defensive attitudes subside into something else altogether, and I love how both performances build up the romance in such an organic way that always feels earned and never feels boring, and with special note to Haenel's final scene which is one of the best endings of the year and one of the best acted sequences of the year. 

I've made no secret of my affection for The Lighthouse but for all my love for its direction, screenplay, cinematography, sound design, and really all the technical elements, the element that has stuck with me the most are the lead performances. They are magnificent showcases for each actor's talents as they're both so incredibly entertaining in the role yet also so layered, as they create a batshit crazy dynamic that just escalates over the course of the film into two performances that are as complimentary of one another as they are standouts on their own. Dafoe has never been better, pure perfection from that roguish, gruff growling West Country man of the sea accent, to the drunken decay and coarseness through every movement he makes, every fart he takes, and every biting remark he hurls to show Winslow as almost on a whole other level of being, but not a nice level of being, and Dafoe's screen presence is brilliantly used as a man who might be bonkers or might be completely sane, but is undeniably a powerful presence of being...unless you insult his cooking. What takes it up a notch is how it plays off Pattinson's bonkers, unwieldy (and brilliantly so) so performance where his wavering New England accent, the uncertain and haphazard way he moves his limbs, goes about his duties, performs heinous crimes against aviation and spits out some of the most memorable gems of insults, becoming just as terrifying in defying the avian gods with a good walloping as he is hilarious in lusting over a steak in more ways than one. Which incidentally is part of the best acted scene of the year (which I've enclosed of course) where Winslow insults Wake's lobster. Wake's genuine sincere sadness at this insult to Winslow's disdainful belligerence, matched by Wake hurling Promethean insults right back at him in a mesmerisingly delivered monologue, and the way the two bounce off one another in this scene encapsulates everything that's great about their every scene: hilarious, ferocious, oddly endearing, strangely moving, terrifying, endlessly mesmerising in this chaotic, marvellously frenzied relationship.

August Diehl and Valerie Pächner, A Hidden Life
Scarlett Johansson and Adam Driver, Marriage Story 

Now I should note that with regards to portrayals of marriage in 2019, Only You features two wonderful performances from Josh O'Connor and Laia Costa as a couple trying to conceive, and I would have reviewed them both here if I hadn't only watched the film so recently and hadn't enough time, and I unfortunately (still kicking myself for missing on it) missed my opportunity to watch Ordinary Love back in December due to a busy schedule, which by all accounts features excellent work by both Leslie Manville and Liam Neeson. Anyway, I digress. Adam Driver and Scarlett Johansson as Charlie and Nicole in Marriage Story and August Diehl and Valerie Pächner as Franz and Franziska in A Hidden Life give two powerful depictions of adversity conflicting with marriage. The former in Noah Baumbach's semi-autobiographical depiction of the dissolution of a marriage that threatens to tear their lives apart in the subsequent battle for custody of their son, Henry. The latter in the real life story of Franz Jägerstätter who as an Austrian conscientious objector was executed for refusing to take the Hitler oath.Both films are emotionally draining experiences, and a comparison actually can be made by their use of letters as a way of conveying the emotional complexities of both relationships, where the opening of Marriage Story conveys so well through the letters 'What I Love About Nicole' and 'What I Love About Charlie' to suggest the longstanding relationship between the two and A Hidden Life in particular using letters exchanged and convey so much contrast between the characters' inner turmoil and their love for one another. On re-watch both films resonated all the harder knowing the direction their respective narratives will take. 

For Driver and Johansson above all, a naturalistic depiction of a very realistic, long standing relationship that envelops and collapses on itself from essentially, a lack of communication on Nicole's behalf and a blend of ignorance and selfishness on Charlie's end. Now saying that is simplifying matters because one of the film's strengths is that it never pins the blame of the divorce on either side, with Johansson giving a very honest portrayal of her character's warmer and more quieter moments where she's trying to straighten things out, to her more bitter, angry moments at past regrets that she brings so much sincerity to with every moment, as does Driver who matches her with his excellent portrayal of Charlie being completely at loss and struggling to deal with the fallout, coupled with his stubborn belligerence at the requests made of him in the divorce proceedings, of which I particularly love his stress and anger when it comes to the prospect of having to make compromises when advised by his first lawyer (Alan Alda). I particularly love their depiction of the attempts at reconciliation throughout where they show such genuine warmth with one another that makes when it spirals into arguments all the more frustrating and genuine, whether its the 'serving papers' scene or whenever they come into conflict over spending time with Henry. It's hard to describe really what makes their performances click as much as they do, but both actors convey wonderfully the awkwardness, shame and in their big confrontation scene the outburst of emotions and frustrations in the spur of the moment where both are so powerful in their mutual breakdown, where the messiness of the divorce proceedings manifest themselves into a brilliantly acted sequence where both characters unleash on one another and Johansson and Driver give such a terrific display of unrestrained anger, hate and then shame. Both stand out on their own too in particular, Johansson in her breakdown to her lawyer (Laura Dern) and Driver when finally reading Nicole's 'letter' about him which are both absolutely heartbreaking scenes to watch.

Meanwhile, Diehl and Pächner have a different challenge altogether in the style of the film and their performances. In that they capture a very otherworldly sort of romance yetdo an amazing job in suggesting between Franz and Franziska an almost unspoken passion built upon years of love and hard work put into the relationship, and even in the voiceovers corresponding between one another are incredible bits of acting that build on this. The film resonates most when honing in on their powerful love for one another, with every glance and every touch, the way I'm describing it may sound cheesy but the way Diehl and Pächner depict is is anything but. Both actors are amazing both in showing the central conflict come between them, the rest of the world, and within themselves. Pächner is amazing in showing the strained yet unquestioned frustrations at her husband's actions, never making her love for her spouse an easy journey and showing the struggle in dealing with the animosity of fellow villagers who decry her husband as a traitor, and transitions it into an acceptance and resilience that's so powerful. She depicts so well the difficult position she is in, juxtaposing her almost ethereal emotional purity with her character's awful predicament that makes it even more powerful through her minimalist yet inspiring performance that will tear your heart part. Meanwhile Diehl has arguably the more limited role in some regards in that his character never seems to lose his resilience against submitting to Hitler, but he depicts that resilience so well, and makes the external turmoil his character goes through utterly heartbreaking as we see a man who's trying to do the right thing amidst it all. His character doesn't change, but part of the brilliance of that is he reflects so well the anguish and fear in doing so, and the scene where he breaks down and confesses that  he wants to  he cannot do something he sees as not 'right' even if it means is life, even if he wants to, because it's in his nature, an amazing scene that shows that Franz is not a godly martyr but a man trying to make sense of a terrible world. Both pairs of actors give astonishing performances and I really hate to have to not have all four in my leading lineups.

I struggled for the longest time in deciding who to leave out of my top 5 between Driver and Diehl, and honestly both deserve to, and in many ways I can see why one would put Diehl over Driver, Driver over Diehl, and in the end my reasoning for leaving Diehl came down to honestly his more limited role within the scope of the film as both performances really impacted me hard emotionally. I honestly prefer either of them just the same, and it only made things harder that Davis' performance was just as wonderful on re-watch and MacKay shot up the rankings after re-watch, and frankly any one of my numbers 2 to 6 are interchangeably even though my top spot is unquestioned. Maybe some point in the future I'll expand my nominations lineup because 5 is simply not enough for particularly strong years like this, and I should note that Actress was not easy at all either as I hated leaving Taylor Russell and Awkwafina out of the top 5! Although again, my winner was in the end a fairly easy choice.

Reel and Roll Awards: Best Actor 2019

1. Willem Dafoe and Robert Pattinson, The Lighthouse
2. Adam Sandler, Uncut Gems 
3. George MacKay, 1917
4. Roman Griffin Davis, Jojo Rabbit 
5. Adam Driver, Marriage Story
6. August Diehl, A Hidden Life
7. Robert De Niro, The Irishman
8. Leonardo DiCaprio, Once Upon a Time in Hollywood 
9. Matthias Schoenaerts, The Mustang
10. Taron Egerton, Rocketman
11. Aaron Paul, El Camino 
12. Antonio Banderas, Pain and Glory
13. Kelvin Harrison Jr., Waves 
14. Bartosz Bielenia, Corpus Christi 
15. Christian Bale, Ford v Ferrari 
16. Anthony Hopkins, The Two Popes 
17. Paul Walter Hauser, Richard Jewell 
18. Josh O'Connor, Ordinary Love 
19. Daniel Craig, Knives Out 
20. Noah Jupe, Honey Boy
21. Kelvin Harrison Jr., Luce 
22. Matthew Rhys, A Beautiful Day in the Neighbourhood  
23. Jonathan Pryce, The Two Popes 
24. Dean Charles-Chapman, 1917 
25. Jack Lowden, Fighting with My Family 
26. Daniel Kaluuya, Queen & Slim
27. Brad Pitt, Once Upon a Time in Hollywood
28. Eddie Murphy, Dolemite Is My Name 
29. Zac Efron, Extremely Wicked, Shockingly Evil and Vile 
30. Sam Rockwell, Richard Jewell  
31. Shia LaBeouf, The Peanut Butter Falcon 
32. Zac Gottsagen, The Peanut Butter Falcon
33. Joaquin Phoenix, Joker
34. Eddie Redmayne, The Aeronauts 
35. Tom Hanks, Toy Story 4 
36. Matt Damon, Ford v Ferrari 
37. Adam Driver, The Dead Don't Die 
38. Edward Norton, Motherless Brooklyn  
39. Jacob Tremblay, Good Boys
40. Brad Pitt, Ad Astra 
41. Adam Driver, The Report 
42. Mena Massoud, Aladdin
43. Zachary Levi, Shazam! 
44. Jimmie Fails, The Last Black Man in San Francisco 
45. Timothée Chalamet, The King
46. Lucas Hedges, Honey Boy 
47. Michael B. Jordan, Just Mercy 
48. Brady Noon, Good Boys 
49. Keith L. Williams, Good Boys
50. Bill Murray, The Dead Don't Die 
51. Dwayne Johnson, Hobbs & Shaw 
52. Jason Statham, Hobbs & Shaw 
53. Dev Patel, Hotel Mumbai 
54. Randall Park, Always Be My Maybe 
55. Tom Holland, Spider-Man: Far From Home 
56. Oscar Isaac, Triple Frontier 
57. Himesh Patel, Yesterday 
58. Jay Baruchel, How to Train Your Dragon: The Hidden World 
59. Asher Angel, Shazam!
60. James McAvoy, Glass
61. Ryan Reynolds, Detective Pikachu 
62. Justice Smith, Detective Pikachu  
63. Ben Affleck, Triple Frontier
64. Chadwick Boseman, 21 Bridges 
65. Tom Burke, The Souvenir 
66. Samuel L. Jackson, Glass 
67. Keanu Reeves, John Wick: Chapter 3
68. Matthew McConaughey, Serenity
69. Alexander England, Little Monsters 
70. Donald Glover, The Lion King
71. Bruce Willis, Glass 
72. Toby Sebastian, Trading Paint 
73. John Travolta, Trading Paint 
74. Devon Sawa, The Fanatic 
75. John Travolta, The Fanatic 

Reel and Roll Awards: Best Actress 2019

1. Saoirse Ronan, Little Women 
2. Valerie Pächner, A Hidden Life 
3. Scarlett Johansson, Marriage Story
4. Lupita Nyong'o, Us  
5. Jessie Buckley, Wild Rose
6. Taylor Russell, Waves 
7. Awkwafina, The Farewell 
8. Adèle Haenel, Portrait of a Lady on Fire 
9. Aisling Franciosi, The Nightingale 
10. Ana de Armas, Knives Out 
11. Samara Weaving, Ready or Not 
12. Florence Pugh, Midsommar 
13. Noémie Merlant, Portrait of a Lady on Fire 
14. Laia Costa, Only You 
15. Sienna Miller, American Woman 
16. Felicity Jones,  The Aeronauts 
17. Constance Wu, Hustlers 
18. Cynthia Erivo, Harriet 
19. Renée Zellweger, Judy 
20. Kaitlyn Dever, Booksmart
21. Florence Pugh, Fighting With My Family 
22. Elizabeth Debicki, Vita and Virginia 
23. Viktoria Miroshnichenko, Beanpole
24. Vasilisa Perelygina, Beanpole 
25. Rose Byrne, I Am Mother 
26. Lupita Nyong'o, Little Monsters 
27. Honor Swinton-Byrne, The Souvenir 
28. Naomi Watts, Luce
29. Daisy Ridley, The Rise of Skywalker 
30. Jessica Rothe, Happy Death Day 2U 
31. Beanie Feldstein, Booksmart 
32. Charlize Theron, Bombshell
33. Octavia Spencer, Ma  
34. Ali Wong, Always Be My Maybe 
35. Clara Rugaard, I Am Mother
36. Brie Larson, Captain Marvel
37. Lily Collins, Extremely Wicked, Shockingly Evil and Vile 
38. Mame Bineta Sane, Atlantics 
39. Francesca Hayward, Cats 
40. Gemma Arterton, Vita and Virginia 
41. Anne Hathaway, Serenity 
42. Sasha Luss, Anna 
43. Rosa Salazar, Alita: Battle Angel 
44. Sophie Turner, Dark Phoenix